CATALOGU  E    of   an 

Exhibition  of  Nineteenth 
Century  BOOKBINDINGS 
By  the  Caxton  Cluh^  Chicago 
December,    MDCCCXCVII 


wm\ 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


Digitized  by  tine  Internet  Arciiive 

in  2007  witin  funding  from 

IVIicrosoft  Corporation 


http://www.arcliive.org/details/catalogueofexliibOOcaxtiala 


The  Publication  Committee  of  the  Caxton  Cluh 
certifies  that  this  copy  is  one  of  an  edition  of  one 
hundred  and  twenty-seven  copies  on  hand-made 
paper ^  and  three  copies  on  fapanese  vellum^  printed 
in  the  month  of  fanuary^  i8g8. 


Catalogue  of  Bookbindings 


CATALOGUE  of  an 
Exhibition  of  Nineteenth 
Century  BOOKBINDINGS 


(SiS- 


iKJ 


BY  THE  CAXTON  CLUB  (IN 
THE  ART  INSTITUTE)  DECEM- 
BER XVI  TO  XXX,  MDCCCXCVII 


LIST   OF   ILLUSTRATIONS 

No. 

lo. — Zaehnsdorf 

No. 

i6 

— Cobden-Sanderson 

No. 

23 

— De  Samblancx-Weckesser 

No. 

32 

— Meunier 

No. 

41 

— Club  Bindery 

No. 

42 

—Miss  S.  T.  Prideaux 

No. 

45 

— Zaehnsdorf 

No. 

47 

—  The  Doves  Bindery 

No. 

51 

— Cobden— Sanderson 

No. 

73 

— Zaehnsdorf 

No. 

77 

— Chambolle-Duru 

No. 

78 

— Riviere  &  Son 

No. 

84 

—  The   Doves   Bindery 

No. 

9' 

— The  Doves   Bindery 

No. 

100 

— Zaehnsdorf 

No. 

1 10 

—  Riviere  &  Son 

No. 

115 

— (Double)   Bradstreets 

No. 

116 

— CuziN 

No. 

•34 

— Sir   Edward  Sullivan 

No. 

180 

— Riviere  &  Son 

No. 

197 

— The  Doves   Bindery 

No. 

200 

— Cox 

No. 

205 

— Zaehnsdorf 

No. 

206 

— Chambolle-Duru 

Art 
Library 


939493 


EXTRACT  FROM 

BOOKBINDING,    ITS    PROCESSES    AND 
IDEAL 

(^Fortnightly  Review,  August,  i8g4.^ 

Binding  may  be  divided  into  two  main  divisions: 

1.  Bindings  for  use. 

2.  Bindings  for  beauty's  sake. 

I  do  not  mean  to  say  that  the  useful  may  not  be 
beautiful,  or  that  the  beautiful  may  not  be  useful. 
I  mean  only  that  of  a  certain  class  the  utility  of  the 
binding  is  the  characteristic  or  the  main  considera- 
tion, and  that  of  a  certain  other  class  not  the  utility 
of  the  binding,  but  the  beauty  of  the  decoration,  is 
the  prominent  feature. 

The  first  class — bindings  for  use — is  divisible 
into  the  following  sub-classes: 

( 1 )  Temporary  bindings,  or  bindings  for  temporary 
use  only,  such  as  the  paper  covers  of  our  magazines,  and 
the  cloth  covers  in  which  books  are  issued  in  England  to 
the  public;  and 

(2)  Permanent  bindings,  or  bindings  intended  to  last 
as   long  as  the  binder  can  make  them  to  last.      These 


Catalogue  of  Bookbindings 


bindings  are  usually  covered  with  leather,  wholly  or  in 
part,  giving  rise  to  the  further  subdivision  of  {a)  whole 
bindings  and  (i^)  half  bindings. 

All  these  bindings  may  be,  and  usually  are,  dec- 
orated in  some  way  or  other.  In  cloth  binding 
we  have  some  beautiful  designs  invented  by  con- 
temporary artists.  But  I  cannot  admire  the  exe- 
cution of  such  designs  in  gold  on  so  poor  a  material 
as  cloth,  nor  is  the  kind  of  binding  suitable  for 
elaborate  invention.  The  gold  soon  wears  away, 
the  cloth  wears  out,  the  sewing  gives,  and  the 
joints  break,  and  I  know  not  anything  more  piti- 
able in  art  of  the  kind  than  to  see  such  lovely  pat- 
terns subjected  to  such  indignities.  It  is  a  true 
principle  in  art  that  nothing  should  be  so  made  as 
to  degrade  in  the  use,  and  I  should  be  glad  if 
artists  would  cease  to  design  for  cloth,  and  if  pub- 
lishers would  cease  to  ask  them;  and,  most  im- 
portant of  all,  as  most  effective,  if  the  public 
would  cease  to  patronise  them  by  selection.  Nor 
would  I  decorate  highly,  or  at  all,  half-bound 
books.  A  half-bound  book  is  an  economy,  and 
economy  is  incompatible  with  decoration.  Deco- 
ration in  all  its  affluence  and  as  a  distinctive  mark 
of  appreciation  is,  or  should  be,  reserved  exclu- 
sively for  bindings  of  the  best  kind,  and  for  books 


Catalogue  of  Bookbindings  7 

that  are  in  themselves  beautiful  and  worthy  of 
conspicuous  honor.  The  community  does  not — 
or,  to  speak  more  exactly,  should  not — dedicate 
statues  to  the  memory  of  the  commonplace;  nor 
should  we  enshrine  to  perpetuity  in  a  beautiful 
binding  the  ephemeral  productions  of  the  moment. 
The  beautiful  book,  then,  the  work  of  genius,  the 
immortal  in  literature,  that  is,  or  should  be,  the 
exclusive  object  of  the  binder's  craft  when  height- 
ened by  the  art  of  the  decorator.  And  the  deco- 
ration should  be  done  for  the  delight  of  it,  and  it 
should  be  done  in  honor  of  him  whose  genius  it 
should  be  a  delight  to  honor.  This  much  I 
premise  in  explanation  of  the  kind  of  book  to  be 
bound  and  made  outwardly  beautiful,  that  the  labor 
of  the  artist  may  not  seem  to  be  thrown  away,  nor 
the  aim  of  his  endeavor  to  be  mistaken. 

I  now  proceed  to  describe  how  such  a  book 
may  be  bound,  and  how,  when  bound,  it  may  be 
decorated. 

1 .  The  first  operation  ot  the  modern  binder  is  to  fold 
or  refold  the  printed  sheet  into  a  section,  and  to  gather  the 
sections,  numbered  or  lettered  at  the  foot,  in  their  proper 
order  into  a  volume. 

2.  Then  "end-papers" — sections  of  plain  or  colored 
paper  added  at  the  beginning  and  end  of  the  volume  to 


Catalogue  of  Bookbindings 


protect  the  first  and  last,  the  most  exposed,  sections  of 
printed  matter  constituting  the  volume  proper — having 
been  prepared  and  added,  the  sections  are  beaten,  or 
rolled,  or  pressed,  to  make  them  "solid." 

3.  The  sections  are  then  taken,  one  by  one,  placed 
face  dovi^nwards  in  a  frame,  and  sewn  through  the  back 
by  a  continuous  thread  running  backwards  and  forwards 
along  the  backs  of  the  sections  to  upright  strings  fastened 
at  regular  intervals  in  the  sewing  frame. 

This  process  unites  the  sections  to  one  another  in 
series,  one  after  the  other,  and  permits  the  perusal  of  the 
book  by  the  simple  turning  of  leaf  after  leaf  upon  the 
hinge  formed  by  the  thread  and  the  back  of  the  section. 

A  volume,  or  series  of  sections,  so  treated,  the  ends  of 
the  strings  being  properly  secured,  is  essentially  "bound;" 
all  that  is  subsequently  done  is  done  for  the  protection 
or  for  the  decoration  of  the  volume  or  of  its  cover. 

4.  When  sewn — and  it  is  usually  sewn  by  a  woman 
— the  volume  passes  into  the  hands  of  the  "forwarder," 
who  "makes"  the  back,  beating  it  round,  if  the  back  is 
to  be  round,  and  "backing"  it,  or  making  it  fan  out  from 
the  centre  to  right  and  left,  and  project  at  edges  to  form 
a  kind  of  ridge  to  receive  and  to  protect  the  back  edges 
of  the  boards  which  form  the  sides  of  the  cover. 

5.  The  back  having  been  "made,"  the  "boards" 
(made  of  millboard  now,  but  originally  of  wood)  for  the 
protection  of  the  sides  are  made  and  cut  to  shape,  and 
attached  by  lacing  into  them  the  ends  of  the  strings  upon 
which  the  book  has  been  sewn. 


Catalogue  of  Bookbindings 


6.  The  boards  having  been  attached,  the  edges  of  the 
book  are  now  cut  smooth  and  even  at  the  top,  bottom,  and 
fore-edge,  the  edges  of  the  boards  being  used  as  guides 
for  the  purpose.  In  some  cases  the  order  is  reversed, 
and  the  edges  are  first  cut,  and  then  the  boards  to  match 
them. 

7.  The  edges  may  now  be  colored  or  gilt,  or  both 
colored  and  gilt,  and  if  it  is  proposed  to  "gauffer"  them, 
or  to  decorate  them  with  tooling,  they  are  so  treated  at 
this  stage. 

8.  The  headband  is  next  worked  on  at  head  and  tail, 
and  the  back  lined  with  paper  or  leather  or  other  material 
to  keep  the  headband  in  its  place,  and  to  strengthen  the 
back  itself. 

The  book  is  now  ready  to  be  covered. 

9.  If  the  book  is  covered  with  leather,  the  leather  is 
carefully  pared  all  round  the  edges  and  along  the  line  of 
the  back,  to  make  the  edges  sharp  and  the  joints  free. 

10.  The  book  having  been  covered,  the  depression  on 
the  inside  of  the  boards  caused  by  overlapping  of  the 
leather  is  filled  in  with  paper,  so  that  the  entire  inner 
surface  may  be  smooth  and  even  and  ready  to  receive  the 
first  and  last  leaves  of  the  end-papers,  which  finally  are 
cut  to  shape  and  pasted  down,  leaving  the  borders  only 
uncovered. 

Sometimes,  however,  the  first  and  last  leaves  of 
the  "  end-papers  "  are  of  silk  and  the  "joints  "  of 
leather,  in  which   case,  of  course,  the   end-papers 


I  o  Catalogue  of  Bookbindings 

are  not  pasted  down,  but  the  inside  of  the  boards 
is  independently  treated,  and  is  covered  sometimes 
with  silk,  as  the  case  may  be. 

The  book  is  now  completely  "forwarded,"  and 
passes  into  the  hands  of  the  "finisher"  to  be  tooled 
or  decorated,  or  "finished,"  as  it  is  called. 

The  decoration  in  gold  on  the  surface  of  a 
bound  book  is  wrought  out,  bit  by  bit,  by  means 
of  small  engraved  brass  stamps,  called  "  tools." 
The  steps  of  the  process  are  shortly  as  follows  : 

1.  The  pattern  is  first  worked  out  with  the  tools, 
blackened  in  the  smoke  of  a  candle  or  lamp,  upon  a  piece 
of  paper  cut  to  the  exact  size  of  the  portion  of  the  book 
to  be  decorated. 

2.  The  piece  of  paper  with  the  pattern  upon  it  is  then 
applied  to  the  surface  to  be  decorated,  and  the  pattern  is 
re-impressed  on  the  paper,  and  so  through  on  to  the  sur- 
face of  the  book. 

3.  The  paper  is  now  removed  and  the  pattern  on  the 
book  is  re-impressed  with  hot  tools  to  make  the  impres- 
sion crisp  and  distinct. 

4.  At  this  stage  a  diiFerent  process  begins.  The  sur- 
face of  the  cover,  with  the  pattern  impressed  upon  it 
as  described,  is  taken,  bit  by  bit,  and  treated  as  fol- 
lows : 

1 .  First  it  is  moistened  with  water  or  vinegar. 

2.  Then  the  pattern  is  penciled  over  with  "glaire," 


Catalogue  of  Bookbindings  1 1 


which  is  a  liquid  composed  of  the  white  of  an  egg  beaten 
up  and  drained  off. 

3.  Then  when  the  glaire  is  dry,  the  surface  is  lightly 
touched  with  oil  or  grease  to  give  a  hold  to  the  gold  leaf 
next  to  be  applied. 

4.  Then  the  gold  leaf,  cut  to  the  size  and  shape  of 
the  portion  of  the  cover  to  be  operated  on,  is  applied  by  a 
flat  brush  called  **a  tip,"  and  pressed  down  by  a  pad  of 
cotton  wool  to  reveal  the  pattern  underneath. 

5.  Then,  and  finally,  the  pattern  with  the  gold  upon 
it  is  gone  over  again  with  hot  tools,  and  the  gold  is 
impressed  into  it.  The  rest  of  the  gold  is  rubbed  away 
with  an  oiled  rag  and  the  pattern  is  now  displayed  per- 
manently in  gold,  and  "finished." 

T.  J.  Cobden-Sanderson. 


THE    INTERPRETATION    OF    STYLES 

AND  TECHNICAL  TERMS  IN 

FINE  BINDINGS. 

STYLES. 

Aldine  or  Italian. — Ornaments  of  solid  face  with- 
out any  shading  whatever,  such  as  used  by  Aldus 
and  other  early  Italian  printers.  The  ornaments 
are  of  Arabic  character.  A  style  appropriate  for 
early  printed  literature. 

Maioli. — A  style  prior  to  and  contemporary  with 
the  early  (Italian)  examples  of  the  Grolier.  Gen- 
erally composed  of  a  framework  of  shields  or  me- 
dallions, with  a  design  of  scrollwork  flowing  through 
it.  Portions  of  the  design  are  usually  studded  with 
gold  dots.    Ornaments  are  of  Moresque  character. 

Grolier. — An  interlaced  framework  of  geomet- 
rical figures — circles,  squares,  and  diamonds — with 
scrollwork  running  through  it,  the  ornaments  of 
which  are  of  Moresque  character,  generally  azured 
in  whole  or  in  part,  sometimes  in  outline  only. 
Parts  of  the  design  are  often  studded  with  gold 
dots.     Time,  first  half  of  the  sixteenth  century. 


Catalogue  of  Bookbindings 


Eve. —  A  framework  of  various  geometrical- 
shaped  compartments  linked  together  by  interlaced 
circles  ;  the  centres  of  the  compartments  are  filled 
with  small  floral  ornaments,  and  the  irregular  spaces 
surrounding  them  with  circular  scrolls  and  branches 
of  laurel  and  palm.  An  elaborate  style  of  the  end 
of  the  sixteenth  and  beginning  of  the  seventeenth 
century. 

Le  Gascon. — The  distinguishing  feature  of  this 
style  is  the  dotted  face  of  the  ornaments  instead 
of  the  continuous  or  solid  line.  Wherever  these 
dotted  ornaments  are  used  the  style  is  called  Le 
Gascon.  Time  of  the  first  half  of  the  seventeenth 
century,  immediately  following  that  of  Nicholas  and 
Clovis  Eve. 

Derome. — This  style  has  ornaments  of  a  leafy 
character,  with  a  more  solid  face,  though  lightly 
shaded  by  the  graver.  The  ornaments  are  often 
styled  Renaissance,  being  an  entire  change  from 
the  Gascon.  The  Derome  is  best  exemplified  in 
borders,  Vandyke  in  design  ;  it  is  simple  in  con- 
struction but  rich  in  effect,  and  is  appropriate  for 
art  publications.      Time,  eighteenth  century. 

Roger  Payne. — The  ornaments  of  this  style  are 
easily  identified,  being  free  and  flowing  in  stem  and 


14  Catalogue  of  Bookbindings 

flower;  whereas  before  Payne's  time  they  had  been 
stiff  and  formal.  The  honeysuckle  is  a  customary 
ornament.  The  impressions  of  the  tools  are  usually 
studded  round  with  gold  dots,  whether  used  in  bor- 
ders, corners,  or  centre  pieces.  The  style  is  well 
suited  for  early  nineteenth  century  literature,  espe- 
cially poetry. 

Mosaic. — A  design  inlaid  with  different  colors. 
The  cover  may  be  of  any  shade,  but  the  style  is 
especially  beautiful  when  the  cover  is  of  white  vel- 
lum in  imitation  of  illuminated  manuscripts.  Suit- 
able for  ancient  manuscripts  and  the  higher  grade 
books  printed  in  colors. 

yansen. — Without  line  or  ornament  either  in 
blank  or  gold.  It  permits  decoration  on  the  inside 
of  cover,  but  demands  absolute  plainness  on  the 
outside,  with  the  exception  of  lettering.  It  is  only 
appropriate  for  crushed  levant,  it  being  dependent 
for  its  beauty  on  the  polished  surface  of  the  leather. 

Cobden-Sanderson. — An  arrangement  of  graceful 
curves  or  stems,  flowers,  buds,  and  leaves,  treated 
conventionally,  the  background  often  powdered 
with  nebulae  of  gold  stars  or  dots  in  whole  or  in 
part.  The  lettering  of  title,  etc.,  on  back  and  sides 
treated  fancifully  and  often  made  an  integral  part 


Catalogue  of  Bookbindings  i  5 

of  the  design.  The  letters  used  by  Mr.  Cobden- 
Sanderson,  and  in  The  Doves  Bindery,  are  said  to 
be  designed  by  one  of  the  daughters  of  the  late 
William  Morris. 

TERMS. 

Arabesque. — A  fanciful  mixture  of  animals,  birds, 
and  insects;  and  of  plants,  fruits,  and  foliage, 
involved  and  twisted. 

A'z.ured. — Ornamentation  outlined  in  gold  and 
crossed  with  horizontal  lines  in  the  manner  of  indi- 
cating azure  in  heraldry. 

Blind  Tooling.  —  Impressions  of  the  finisher's 
tools  without  gold. 

Dentelle  Border. — A  tool-pointed  border  with 
finely  dotted  gold  or  Gascon  ornaments  in  imitation 
of  lace. 

Double. — When  the  inside  of  the  cover  is  lined 
with  leather  it  is  termed  double. 

Fanfare. — When  the  compartments  formed  by 
fillets  or  curves  or  both  are  filled  with  little  branches, 
vines,  etc.,  the  style  of  decoration  is  said  to  be 
fanfare — from  its  first  having  been  used  on  a  book 
of  which  this  word  formed  the  principal  part  of  the 
title. 


I  6  Catalogue  of  Bookbindings 


Fillet, — An  engraved  line  impressed  on  the  back, 
side,  or  border  of  a  book  cover. 

Gaufr'e  Edges. — Impressions  made  with  the  tools 
of  the  finisher  on  the  gilt  edges  of  the  book. 

Gouge. — A  curved  line  or  segment  of  a  circle 
impressed  upon  the  leather. 

Mosaic. — A  decoration  formed  by  inlaid  leathers 
of  various  colors  and  designs. 

Petits  Fers. — The  small  tools  used  for  decoration 
by  the  finisher. 

Pointille. — Designs  worked  in  gold  dots  are  said 
to  be  <z  pointille. 

Roulette  Border. — A  border  design  produced  by 
a  wheel  on  the  circumference  of  which  is  engraved 
a  pattern  that  reproduces  itself  as  the  wheel  is 
revolved. 

Roundlet. — A  small  circle  in  gold. 

Semis  {or  Powder^. — Ornamentation  in  which  the 
device  is  repeated  at  regular  intervals. 


BINDERS 

REPRESENTED 

Amand. 

Hayday. 

Bedford. 

Hedberg. 

Belz-Niedree. 

Holloway. 

Bosquet. 

Lewis. 

Bozerian. 

Lortic. 

Bradstreet's. 

Lortic  Freres. 

Cape. 

Mackenzie. 

Chambolle-Duru. 

Marius  iMichel. 

Champs. 

Matthews,  Alfred. 

Claessens. 

Matthews,  William. 

Clement. 

Mercier. 

Club  Bindery. 

Meunier. 

Cobden-Sanderson. 

Morley. 

Cox. 

.  Miss  Irene  Nichols. 

Cuzin. 

Pawson  &  Nicholson. 

David. 

Petit. 

De  Coverly. 

Pratt. 

De  Nardo. 

Miss  S.  T.  Prideaux. 

De  Samblancx-Weckesser.  Purgold.                               | 

Doves  Bindery. 

Qari     Abdurrahman's 

Duru. 

Sons. 

Fritzsche. 

Ramage. 

Gruel. 

Raparlier. 

1 8            Catalogue  of 

'  Bookbindings 

Ringer. 
Ritter. 

Stikeman  &  Co. 
Sir  Edward  Sullivan. 

Riviere. 
Riviere  &  Son. 

Thierry. 
Thouvenin. 

Rousselle. 

Tout. 

Ruban. 

Trautz-Bauzonnet. 

Sanford. 

Zaehnsdorf. 

Simier. 

Zahn. 

Staderini. 

NAMES    OF 

EXHIBITORS 

George  A.  Armour. 

George  S.  Payson. 

E.  E.  Ayer. 

C.  B.  Cleveland. 

S.  Clifford  Payson. 
H.  G.  Selfridge. 

A.  J.  Cox. 

F.  B.  Smith. 

James  W.  Ellsworth. 

J.  A.  Spoor. 

George  Higginson,  Jr. 
Gen.  Alex.  C.  McClurg 

W.  Irving  Way. 
.  Henry  J.  Willing. 

George  Merryweather. 

John  H.  Wrenn. 

CATALOGUE    OF    BOOKBINDINGS 

I      RIVIERE  &  SON.  /F^//o«.   Complete 
Angler.      London,     mdcccxliv. 

Dark  green  morocco,  with  border  fillet  on  sides 
and  back,  enclosing,  on  the  sides,  centre  orna- 
ments of  fish  and  flies  in  solid  tools,  in  pools 
indicated  by  curved  lines,  and,  on  the  back,  fish  in 
solid  tools,  in  water  indicated  by  curved  lines. 
Lettering  in  gold  on  the  back,  enclosed  in  panel 
of  fillets. 


2     ZAEHNSDORF.  Shelley.    Masque  of 
Anarchy.      London.      1832, 

Blue  morocco  ;  diaper  pattern  of  fillet  compart- 
ments enclosing  leaves  and  flowers,  all  enclosed  in 
border  of  fillets  and  dotted  lines.  Blank  diamond 
space  in  centre.  Title  in  gold  on  back,  enclosed  in 
panel  of  fillets,  with  ornaments  at  ends. 


20  Catalogue  of  Bookbindings 

3  DE  COVERLY.      Pater.    Studies   in 

THE   History    of    the    Renaissance. 
London.      1873. 

Light  blue  crimped  morocco,  with  corner  orna- 
ments enclosed  in  fillets  and  curves  on  sides,  and 
with  title  in  gold,  and  panels  between  raised  bands 
tooled  in  Roger  Payne's  manner. 

4  RAPARLIER.      William  Morris.     Of 

the  Friendship  of  Amis  and  Amile. 
Kelmscott  Press,  London.      1894. 

Reddish  brown  morocco,  with  broad  border 
design,  tooled  in  blind,  enclosing  triple  panel,  with 
title  in  gold  in  centre,  and  upper  and  lower  panels 
tooled  in  blind  and  gold  dots.  Back  design  also 
tooled  in  blind  and  gold.  Double  of  blue  morocco 
with  border  of  fillets,  dots,  and  small  ornaments, 
enclosing  panel  of  arabesques  arranged  in  diaper 
pattern.  Reddish  brown  silk  brocade  ends.  Chamois 
lined  slip  case,  with  marbled  paper  outsides. 


Catalogue  of  Bookbindings  21 

5  DOVES  BINDERY.    William  Morris. 

The  Tale  of  the  Emperor  Coustans 

AND  OF  Over  Sea.     Kelmscott  Press, 

London.      1894. 

Dark    green    morocco,   with    border    of    triple 

fillets  and  dots  enclosing  corner  compartments  of 

leaves   and   dots.      Title    in   gold   on    back,  with 

panels  of  Tudor  roses,  leaves,  and  dots  between 

raised  bands. 

6  ZAEHNSDORF.     Tennyson.     Idylls 

OF  THE  King.      London.      1859. 
Red  morocco,  with  panel  of  two  fillets  enclos- 
ing compound  semis  of  gold  dots  and  florets.   Back, 
of    irregular   compartments   of    fillets   and   curves 
enclosing  gold  lettering,  dots,  and  flower. 

7  CLUB  BINDERY.      Lemuel    Gulliver 

\Swift\.       Travels     into      Several 
Remote    Nations    of    the     World. 
London,     m.dcc.xxvi. 
Dark  olive  morocco,  with  border  of  triple  fillets 
enclosing  panel  of  single  fillet  and  corner  orna- 
ments.     Raised  bands  with  panels  tooled  and   let- 
tered in  gold. 


2  2  Catalogue  of  Bookbindings 

8  ZAEHNSDORF.     {Edward  Fitz 

Gerald.~\      Rubaiyat  of  Omar  Khay- 
yam.     London.      1896. 

Reddish  brown  morocco,  with  broad  dentelle 
border  of  roses,  tulips,  hearts,  leaves,  curves,  and 
dots.  Panels  on  back  of  gold  lettering,  and  of 
same  ornaments  as  used  on  sides. 

9  JOHN     BUMPUS      (Bound    For). 

Swinburne.     Astrophel     and   Other 
Poems.     London.     1894. 

Light  olive  morocco,  with  border  design  of 
straight  and  curved  lines  and  leaves  on  front  cover. 
Same  ornaments,  with  lettering  in  gold,  used  on 
back. 

10  ZAEHNSDORF.     Eugene  Field. 

Love  Songs    of  Childhood.      New 
York,     mdcccxciv. 

Blue  morocco,  with  broad  borders  differing  on 
the  two  sides.  Rococo  design  of  shells,  dots,  and 
arabesques  of  intertwining  leaved  branches  form- 
ing two  compartments  on  front  cover  for  title  and 


No.  lO.-ZAEHNSDORF 


Catalogue  of  Bookbindings  23 

author's  name.  Upper  and  lower  half  of  back 
tooled  in  similar  manner,  with  title  and  author's 
name  between.  Motive  taken  from  the  etched 
title-page  of  the  book. 

II  DOVES  BINDERY.  Morris,  Ros- 
setti,  and  Others.  The  Germ.  Lon- 
don.     1850. 

Green  morocco,  with  corner  designs  of  flowers, 
leaves,  dots,  and  curves,  all  enclosed  in  fillet 
border.  Panels  between  raised  bands  on  back  of 
lettering  in  gold,  and  flowers,  leaves,  dots,  and 
curved  lines. 


12  ZAEHNSDORF.  Br  under  Matthews. 
Bookbindings,  Old  and  New.  New 
York.      1895. 

Brown  morocco,  tooled  in  Grolieresque  manner 
with  scrollwork,  and  moresque  ornaments  azured 
in  part,  all  enclosed  in  double  fillet  border.  Back 
panels,  between  bands,  also  of  scrolls,  and  mo- 
resque ornaments. 


24  Catalogue  of  Bookbindings 


13     .  Andrew  Lang.    Aucassin  and 

NicoLETE.     London.     1887. 

Green  morocco,  with  border  of  fillets  on  front 
cover,  enclosing  dotted  and  floriated  base  (a  field 
of  daisies)  surmounted  by  a  spray  of  roses.  On 
back  cover  a  border  of  water  lilies  and  water 
lines,  enclosing  a  filleted  compartment  in  whose 
centre  rises  a  floriated  spray,  surmounted  by 
twining  hearts  formed  of  water  lily  leaves. 
Three  words  of  title  on  back  in  compartments 
formed  of  curved  lines  and  leaves.  Linings  of 
white  vellum  with  floral  design  in  centre,  and 
sprays  of  rose  leaves  around  the  corners. 


14     ZAEHNSDORF.     Coleridge.    Poems. 
Kelmscott  Press,  London.      1896. 

Red  morocco ;  a  border,  within  fillets,  of  laurel 
and  palm  ovals,  enclosing  a  field  of  ovals, 
diaper  pattern,  in  the  manner  of  the  Eves.  The 
small  floral  oval  compartments  each  contains  a 
marguerite  or  other  flower  repeated  in  open  spaces, 
and  same  pattern  in  panels  between  bands  of 
back.  The  ends  of  green  watered  silk,  with 
tooled  moresque  joints  and  borders. 


No.  10.— cobden-sanj)p:rson 


Catalogue  of  Bookbindings  25 

15  QARI  ABDURRAHMAN'S  SONS 

{Ulwar^  India).  Kalidasa.  Sakoon- 
TALA,  Translated  by  Monier  Wil- 
liams.     Hertford,     m.dccc.lvi. 

Red  morocco,  with  broad  border  of  native  de- 
signs stamped  in  low  relief,  and  brilliantly  colored 
by  hand  in  blue  and  gold — the  portions  in  black, 
between  low  relief  figures,  with  scrolls  in  gold. 
The  panel  enclosed  by  border  also  with  three 
native  designs  stamped  in  low  relief  and  colored 
by  hand  in  blue  and  gold.  Both  sides  alike. 
Double  of  red  morocco  with  broad  borders  and 
leather  joints,  without  other  decoration  than  fillets. 

16  COBDEN- SANDERSON.     Shake- 

speare. Sonnets,  and  a  Lover's 
Complaint.      London.      1870. 

Brown  morocco,  with  broad  border  of  Tudor 
roses,  leaves,  and  dots,  enclosing  semis  of  gold 
dots.  Title  on  back  in  vertical  arrangement  be- 
tween raised  bands.  Leafy  borders  inside,  with 
vellum  ends.  Following  inscription  on  a  fly-leaf: 
"  Shakespeare's  Sonnets  bound  by  me  at  Goodyers, 
Hendon,  1890.      T.  J.  Cobden-Sanderson." 


26  Catalogue  of  Bookbindings 

17  MERCIER.      Andrew  Lang^  Editor. 

Cupid    and     Psyche.       London. 

m.d.ccclxxxvii. 
Red  morocco,  border  of  fillets  on  sides,  floret 
panels  between  bands  on  back.  Double  of  green 
morocco,  with  outside  border  of  fillets  and  dots 
enclosing  a  panel  design  of  greater  elaboration, 
formed  of  fillets  and  dotted  lines,  with  floriated 
corners. 

18  ZAEHNSDORF.     Eugene    Field, 

Second  Book  of  Verse.  Chicago. 
1892. 
Green  morocco,  with  broad  leafy  border  pow- 
dered with  gold  dots,  and  with  mosaics  of  red  roses 
at  corners  and  lower  half  of  panel.  Two  panels 
of  back  with  roses  a  mosaique  and  leafy  and  dotted 
ornamentation  in  gold. 

19  ZAEHNSDORF.      William   Morris. 

The    Defence    of    Guenevere    and 
Other    Poems.       Kelmscott    Press, 
London.      1892. 
Brown  morocco,  with  broad  border  of  irregu- 
larly spaced  fillets  forming  narrow  panel  in  which 


Catalogue  of  Bookbindings  27 

is  printed  the  title.  Back  similarly  treated,  except 
that  lines  are  broken  to  leave  spaces  for  title. 
Linings  and  ends  of  red  watered  silk,  with  filleted 
border. 

20  CLUB  BINDERY.       \Logan:\      M. 

T.  Cicero's  Cato  Major.    Benjamin 
Franklin,  Philadelphia,     mdccxliv. 

Red  morocco,  with  floret  border,  enclosed 
within  single  rectangular  fillet,  and  full  floret  panels 
between  raised  bands  on  back,  Roger  Payne  style. 

21  RAPARLIER.    Fossetier.    Battaille 

DE  Pavie.      Harlem.      1869. 

Brown  morocco,  with  centre  panels  in  blind 
tooling,  and  devices  of  modeled  and  colored 
morocco,  differing  on  the  two  sides. 

22  CLUB    BINDERY.     Brander    Mat- 

thews.      Bookbindings,      Old     and 
New.     New  York.      1895. 

Wine  colored  morocco,  with  rectangular  fillet, 
seal  of  Grolier  Club  as  centre,  and  monogram  of 
owner  as  corner  and  back  panel  ornaments. 


28  Catalogue  of  Bookbindings 

23  DE   SAMBLANCX-WECKES- 

SER.      Shakespeare.     Antony     and 
Cleopatra.     New  York.      1891. 

Dark  blue  morocco,  with  broad  border  on  each 
cover  of  nine  parallel  rectangular  fillets,  and  inlaid 
Egyptian  emblematical  devices  in  colored  mo- 
roccos within  the  fillets. 

24  (MISS)  S.  T.  PRIDEAUX.     S.  T. 

Prideaux.      Historical     Sketch     of 
Bookbinding.      London.      1893. 

Orange  morocco,  with  border  of  fillets,  in  gold 
and  blind,  with  conventional  floral  design  between 
the  fillets. 


25     CHAMBOLLE-DURU.  De  Nerval. 
Sylvie.     Paris.      1886. 

Light  blue  morocco,  with  border  of  fillets  and 
semi-circles,  and  intertwining  leafy  sprays  at  the 
angles  and  the  breaks.  Double  of  red  morocco, 
with  border  fillets.  Renaissance,  and  floral  orna- 
ments. 


No.  23.— Ue  SAMBLANCX-WECKESSER 


Catalogue  of  Bookbindings  29 

26  ZAEHNSDORF.     Tennyson.      Idylls 

OF  THE  King.      London.      1859. 

Light  brown  morocco,  with  Maioli  framework 
of  interlacing  strap-work  in  red,  green,  and  black 
mosaics,  and  flowing  scrolls  of  moresque  design 
interlacing  freely  with  it — the  compartments  stud- 
ded with  gold  dots.  Double  of  morocco  with 
Le  Gascon  ornamentation. 

27  G.  HEDBERG.      'Tennyson.      Idylls 

OF  THE  King.      London.      1859. 
Lemon  morocco,  with    mosaics   of  rose  trees, 
foliations,  and   floriations,  rising  from   clover-field 
— the  designs  differing  on  two  sides. 

28  DE  NARDO.   Rogers.    Poems.    Lon- 

don.    1834. 
Vellum,  with  centre  panels  of  diamond-shape 
deeply  impressed  and  gold  tooled,  and  with  corners 
of  painted  scrollwork. 

29  STADERINL    Rogers.    Italy.    Lon- 

don.     1830. 
Flexible  vellum,  with  circuit   edges,  and   with 
elaborate  Grolier  design  in  gold  on  front  cover, 
the  ornaments  azured. 


30  Catalogue  of  Bookbindings 

30  FRITZSCHE.     William  Morris. 

Gothic      Architecture.       London. 

1893. 
Fawn-colored  calf,  the  title  on  front  cover  in 
carved  and  painted  letters  of  various  colors,  lined 
out  in  gold. 

31  MARIUS    MICHEL    (HENRI). 

Charles  Dickens.  Tale  of  Two  Cities. 

London.      1859. 
Dark   green    morocco,  with  border  of  parallel 
fillets,  enclosing  panel  of  fillets,  with  broken  joints 
ornamented  w^ith  leafy  sprays. 

32  MEUNIER.     Robida.        Voyage    de 

F1AN9AILLES.     Paris.      1892. 
Light  green  morocco,  w^ith  mosaic  emblematical 
design    representing   clouds   and    the   symbols   of 
Time,  and  the  flight  of  air-ships  from  the  earth,  in 
gold  and  silver  toolings. 

2,2,     DE  COVERLY.  Dickens.  Christmas 
Carol.     London,      i860. 
Light    bluish-green     morocco,    with     Derome 
(dentelle)  border. 


No.  32.— MEUNIER 


Catalogue  of  Bookbindings  3 1 

34     CLEMENT.     Tennyson.     The  Holy 
Grail.      London.      1870. 

Drab  morocco,  the  front  cover  with  title  in 
gold  and  mosaics,  and  with  emblematical  design 
also  in  mosaic,  all  enclosed  within  a  mosaic  band 
which  is  tooled  in  gold.  Back  cover  with  gold 
tooled  band  inlaid  in  colored  leather. 


2S     F.     BEDFORD.      Pindar.       Opera. 
Frankfort.      1542. 

Dark  brown  morocco,  blind  tooled  with  double 
fillets  crossing  in  diamond  form,  and  with  fleur-de- 
lis  in  each  compartment.  Blind  border  around 
outer  edge  of  cover. 


36  ZAEHNSDORF.  Joseph  TV.  Zaehns- 
dorf.  The  Art  of  Bookbinding. 
London.      1890. 

Brown  morocco,  with  back  and  sides  bearing 
parallel  rectangular  fillets,  the  intervening  spaces 
decreasing  as  they  approach  centres. 


32  Catalogue  of  Bookbindings 

37  DOVES     BINDERY.      William 

Morris.  King  Florus  and  the  Fair 
Jehane.  Kelmscott  Press,  London. 
1893. 

Olive-green  morocco,  with  double  border  fillet 
and  conventional  flower  decoration  in  the  corners. 
Panels  between  raised  bands  on  back  tooled  in 
similar  design. 

38  ZAEHNSDORF.       William   Morris. 

The  Tale  of  the  Emperor  Cou- 
stans  and  of  Over  Sea.  Kelmscott 
Press,  London.      1894. 

Apple-green  morocco,  with  intertwining  vine 
border  forming  compartment  for  title  on  front 
cover,  and  two  panels  of  back  tooled  with  floral 
ornaments.  Reverse  side  with  floral  ornaments 
in  upper  left  and  lower  right  hand  corners. 

39  DE    COVERLY.       William    Morris. 

Gothic  Architecture.  Kelmscott 
Press,  London.      1893. 

Apple-green  morocco,  with  conventional  floral 
decoration,  a  pointille. 


r    w 


r    w 


7-;3y-r    .^  X  -x^ 


No.  41.— CLUB  BINDKRV 


No.   12.— MISS  S.  T.  PRIUEAUX 


Catalogue  of  Bookbindings  33 

40  RIVIERE  &  SON.      William  Morris. 

Of  the  Friendship  of  Amis  and 
Amile.  Kelmscott  Press,  London. 
1894. 

Brown  morocco,  with  three  sets  of  double 
fillets,  the  outer  in  gold,  the  inner  in  blind,  with 
fleurons  at  corners,  and  blind  stamped  Renais- 
sance design  in  centre  surrounded  by  single  gold  line. 
Back  panels  with  single  tooled  ornament  in  gold, 

41  CLUB     BINDERY.       Ugo     Foscolo. 

Essays  ON  Petrarch.  London.   1823. 

Apple-green  morocco,  with  border  design  of 
intertwining  laurel  enclosing  semis  of  violet  blos- 
soms and  centre  ornament  of  laurel  wreath.  Back 
ornamentation  of  laurel  leaves.  White  corded  silk 
linings  and  ends.  ■ 

42  (MISS)  S.  T.  PRIDEAUX.     Select 

Letters  of  Shelley.   London.   1882. 

Olive-green  morocco,  with  double  border  fillet 
enclosing  in  gold  and  blind  a  panel  of  flaming 
seed-pods,  foliated.  Back  finished  in  design  from 
same  tools  as  used  on  sides. 


34  Catalogue  of  Bookbindings 

43  COBDEN- SANDERSON.      Shake- 

speare.    Songs  and  Sonnets.     Lon- 
don.     1887. 
Light    olive     morocco,    with     maple-leaf    and 
dotted  corners,  and  maple-leaf   centre  ornament, 
all  enclosed  by  single  fillet  border.     Gaufre  edges. 

44  ZAHN.    Oliver  Wendell  Holmes.    The 

Poet  of  the  Breakfast  Table.  Bos- 
ton.    1872. 
Red  morocco,  with  floriated  corners  and  open 

centre.    Top  and  bottom  panels  of  back,  and  title, 

in  gold. 

45  ZAEHNSDORF.    Horatius.    Pick- 

ering.     London,     mdcccxxiv. 
Brown   morocco,  with  border  of  double  fillets, 
enclosing  a  framework  of  interlacing  double  fillets 
forming  compartments,  and  with  moresque  orna- 
ments, azured,  at  angles,  all  in  the  style  of  Grolier. 

46  ZAEHNSDORF.       W.    J.    Linton. 

Times     and     Seasons.       Appledore 
Press.     I '94. 
Green  morocco,  with  alternating  semis  of  cooing 
doves,  bees,  and   florets,    all    enclosed    by   single 


No.  45.— ZAEHNSDORF 


No.  47. -THE   DOVES    BINDERY 


Catalogue  of  Bookbindings  35 

rectangular  border  fillet.      Inside  border  of  bees, 
leafy  sprays,  and  fillets. 

47  DOVES  BINDERY.      The  Sayings 

OF  THE  Lord  Jesus  Christ  as  Re- 
corded BY  His  Four  Evangelists. 
Arranged  by  J.  W.  Mackail.  Lon- 
don.     1894. 

Red  morocco,  with  single  border  fillet,  enclosing 
a  broad  decorative  design  of  scrollwork — little 
hearts  used  to  represent  leaves — forming  three 
compartments,  two  with  tulips,  the  other  an  oblong 
panel  in  which  is  the  lettering,  and  above  which  is 
a  dove  with  extended  wings.  The  back  panels 
between  bands  decorated  with  same  tools,  the 
whole  design,  which  is  in  gold,  being  relieved  by 
the  use  of  gold  dots. 

48  DOVES     BINDERY.      Francis    T. 

Palgrave.  Treasury  of  Sacred  Song. 
Oxford,      mdccclxxxix. 

Red  morocco,  with  border  fillet,  and  oval  floral 
centrepiece.  Panels  of  back  of  stars  and  poppies. 
Morocco  joints  and  borders,  with  silk  brocade 
linings. 


36  Catalogue  of  Bookbindings 


49 


PURGOLD.     Recueil  de  Pieces  en 
Prose  et  en  Verse.   Caen,  m.dc.lxxi. 

Blue  straight  grained  morocco,  with  border  of 
interlacing  and  rectangular  fillets. — Ex  Libris 
Caroli  Nodier. 


50 


TRAUTZ-BAUZONNET.  Horatii. 
PoEMATA.     Elzevir.      1676. 

Lemon  morocco,  with  triple  fillet  border,  enclos- 
ing panel  formed  of  fillets  and  segments  of  circles, 
with  Gascon  ornaments  at  corners,  and  with 
quatrefoil  mosaic  of  red  morocco  surrounded  by 
Le  Gascon  ornaments. 


51  COBDEN  -  SANDERSON.  John 
Ruskin.  The  Two  Paths.  London. 
1859. 

Brown  morocco,  with  border  of  stems,  leaves, 
carnations,  and  dots,  and  a  semis  of  triple  dots. 
Panels  between  bands  on  back  of  stems,  leaves, 
and  bulbs,  studded  with  gold  dots. 


No.  51.  -COBDEN  SANDP:RS0N 


Catalogue  of  Bookbindings  37 

52     DOVES  BINDERY.      {Edward  Fifz 
Gerald^     Polonius.    London,    1852. 

Brown  morocco,  with  double  fillet  border,  en- 
closing panel  of  single  fillet  and  dots.  Panels 
between  bands  of  back,  of  bulbs  and  curves,  studded 
with  gold  dots. 


c^i^     DAVID.     Horace.     Poemata.    Aldus, 
Venice,     m.d.ix. 

Blue  morocco,  with  geometrical  interlacements 
of  fillets  and  segments  of  circles,  and  Aldine  cor- 
ner ornaments  of  solid  face,  all  enclosed  within  a 
double  border  fillet.      In  Grolier's  early  manner. 


54  COBDEN  -  SANDERSON.  John 
Ruskin.  The  Crown  of  W^ild  Olive. 
London.      1886. 

Green  morocco,  with  single  fillet  border  and 
oval  centre  ornament  of  laurel  and  dots.  Panels 
between  bands  of  back,  of  laurel  ovals,  studded 
with  gold  stars. 


38  Catalogue  of  Bookbindings 

55  CAPE.      Martialis.       Epigram  mata. 

Aldus,  Venice,     m.d.i. 
Dark  olive  green  morocco,  with  decorative  de- 
sign of  fillets  and  Aldine  ornaments  of  solid  face, 
enclosed  within  border  of  fillets. 

56  TRAUTZ-BAUZONNET.  Tacitus. 

Elzevir.      1640. 
Red   morocco   over    limp    boards,  with   circuit 
edges,  and  with  monogram  crowned,  in  corners  on 
sides,  and  between  raised  bands  of  back. 

57  ZAEHNSDORF.     Sir  Edwin  Arnold. 

The     Light     of     Asia.        London. 

mdcccxc. 
Green  morocco,  with  border  of  large  lotus  leaves 
and  flowers  enclosed  within  fillets,  and  centrepiece 
of  full  lotus  plants  rising  out  of  the  water.    Leaves 
and  flowers  in  panels  of  back. 

58  ZAEHNSDORF.       Andrew     Lang. 

AucAssiN   AND   NicoLETE.      London. 

1887. 

Light  green  morocco,  with  sprays  of  daisies  on 
both  sides  of  covers  and  between  bands  of  back — 


Catalogue  of  Bookbindings  39 

the  flowers  being  mosaics  of  orange  morocco. 
Pink  silk  linings  and  ends,  with  tooled  inside 
borders. 

59  DE  COVERLY.     Ionica.     London. 

1858. 
Olive    morocco,   with    foliage    and    flowers    in 
mosaics  on  sides  and  back.      Double  of  light  blue 
morocco,  with  tooled  angles  and  centrepieces,  and 
inside  borders  of  roses. 

60  CH  AMBOLLE-DURU.     Jules 

Claretie.     Bouddha.     Paris.      1888. 

Brown  morocco,  with  mosaic  border  com- 
partments of  gold  lined  orange  morocco  (bamboo 
pattern),  enclosed  within  rectangular  fillet.  Panels 
between  bands  of  back,  with  mosaics  of  orange. 
Motive  taken  from  frontispiece  of  the  book. 

61  DE     COVERLY.       Villon.       Poems. 

Villon  Society,  London,  mdccclxxviii. 

Reddish  brown  morocco,  with  triple  fillet  border 
enclosing  fillet  panel  and  design  of  frontispiece, 
with  lettering,  on  front  cover,  and  a  stanza  of 
Villon  MS.  on  back. 


40  Catalogue  of  Bookbindings 

62  DOVES  BINDERY.  [Edward  Fitz 
GeraldJ]  The  Rubaiyat.  London. 
1859. 

Red  morocco,  with  broad  border  of  fillets,  roses, 
foliage,  and  gold  dots,  and  semis  of  dots  in  the  field. 
Lettering  between  bands  on  back  interspersed  with 
rose  leaves  and  stems. 

62  LORTIC  FR£RES.  Lamb.  Mrs. 
Leicester's  School.    London.    1809. 

Green  morocco,  with  triple  fillet  border,  enclos- 
ing panel  of  fillets  and  dotted  lines  in  oblong 
octagon  form,  with  Derome  ornamentation  on  the 
four  sides  next  corners.  Panels  of  double  fillets, 
enclosing  single  ornament  on  back. 

64  RIVIERE  &  SON.  John  Keats. 
Poems.     1817. 

Dark  red  morocco,  with  leafy  and  interlacing 
fillet  border,  and  Tudor  roses  in  corners.  Panels 
between  bands  of  back,  of  leaves,  roses,  and  gold 
dots,  all  in  Cobden-Sanderson's  manner. 


Catalogue  of  Bookbindings  41 

di^     RAMAGE.      Robert  Burns.      Poems. 
Edinburgh,     mdcclxxxvii. 

Green  morocco,  with  a  semis  of  Scotch  thistles 
on  sides  and  in  panels  on  back,  with  border  and 
panel  fillets, 

(id     SIMIER.       Chateaubriand.       Maison 
DE  France.     Paris.      1825. 

Blue  straight  grained  morocco,  the  backs  deli- 
cately tooled  in  gold,  with  small  quatrefoil  mosaics 
of  red,  the  sides  with  border  blind  tooled,  enclos- 
ing panel  formed  of  eight  rectangular  fillets,  with 
stamped  ornaments  in  angles  and  the  Arms  of  the 
Duchesse  de  Berry  in  centres  in  gold.  Binder's 
ticket  on  a  fly-leaf  reading,  "  Simier,  Relieur  du 
Roi,  de  S.  A.  R.  Madame  Duchesse  de  Berry,  et 
de  S.  A,  R.,  M"-.  le  Due  de  Bordeaux,  Rue  S^. 
Honore  No.  152  a  Paris." 

67     COBDEN-SANDERSON.      Shelley. 
Prometheus     Unbound.       London. 

1820. 

Spring  willow  green  morocco,  the  sides  and 
back  panels  decorated  in  a  floral  design  of  fillets. 


42  Catalogue  of  Bookbindings 


stems,  leaves,  and  roses,  with  nebulae  of  gold  stars 
in  background — a  small  panel  left  in  centre  of  each 
side  for  lettering.  Inscription  on  fly-leaf:  *'  Bound 
for  Shelley  Centenary,  1892,  by  T.  J.  Cobden- 
Sanderson." 

68     BELZ-NIEDREE.      Gverrino 
Detto  II  Meschino.      1553- 

Red  morocco,  with  border  fillets  and  elaborate 
angle  decorations  in  Derome  tools.  Centre  orna- 
ment of  arms  within  a  wreath.  Derome  panels 
on  back. 


69  RUBAN.  Austin  Dobson.  At  the 
Sign  of  the  Lyre.  London, 
mdccclxxxv. 

Olive  morocco,  with  bracket,  or  frame,  support- 
ing an  escutcheon  (in  red  mosaic)  of  Chippendale 
form  and  decoration,  with  lyre  stamped  in  gold  in 
the  field.  The  bracket  and  shield  are  surrounded 
by  Derome  ornamentation,  and  decorative  treat- 
ment is  limited  to  front  cover. 


Catalogue  of  Bookbindings  43 

70  DAVID.      Les    Memoires    De    Feu 

Monsieur     Le      Due      De      Guise. 
Cologne,     mdclxix. 

Green  morocco,  with  triple  fillet  border  on  sides, 
and  Le  Gascon  panels  on  back.  Double  of  red 
morocco  with  broad  dentelle  (Derome)  border. 

71  CUZIN.  Ant oine  Hamilton.  Memoires 

Du   CoMTE   De   Grammont.     Paris. 
1888. 

Red  morocco,  with  broad  border  of  fillets,  dotted 
lines,  and  Derome  ornaments  at  corners  and  at  the 
breaks  in  the  sides.  Fillets  and  Derome  orna- 
ments in  panels  on  back. 

72  (MISS)   S.   T.   PRIDEAUX.     S.  r. 

Prideaux.       Historical     Sketch    of 
Bookbinding.     London.      1893. 

Brown  morocco,  with  broad  border  fillet  in 
blind;  and  inner  broad  border  of  diaper  pattern  in 
blind — the  relief  portions  stamped  with  gold  dots — 
enclosed  in  triple  blind  fillet  and  dotted  line  in  gold. 


44  Catalogue  of  Bookbindings 

y^     ZAEHNSDORF.  John  Keats.  Poems. 
Kelmscott  Press,  London.      1894. 

Green  morocco,  with  border  fillets  and  dotted 
line,  enclosing  framework  of  geometrical-shaped 
compartments  linked  by  interlaced  circles;  the 
compartments  and  circles  filled  with  delicate  tool- 
ing (pointille),  and  irregular  spaces  with  foliage 
after  the  manner  of  Le  Gascon.  Panels  of  back 
similarly  decorated.  Double  of  green  morocco 
with  broad  border  of  rectangular  fillets  and  with 
silk  brocade  ends. 

74  ZAEHNSDORF.     Shelley.      Prome- 

theus Unbound.     London.      iSao. 

Green  morocco,  border  a  filets  droits  et  courbes. 
Double  of  green  morocco,  with  broad  floriated  and 
filleted  border  studded  with  gold  dots.  Green 
watered  silk  ends. 

75  ZAEHNSDORF.    Joseph  W.  Zaehns- 

dorf.      The    Art    of    Bookbinding. 
London.      1880. 

Red  morocco,  with  border  fillet  enclosing  a  Gro- 
lieresque  design  of  interlacements,  and   moresque 


No.  73.— ZAEHNSDORF 


-CHAMBOLLE-DURU 


Catalogue  of  Bookbindings  45 

ornaments  azured  in  part,  with  mosaics  of  green 
morocco  in  the  open  spaces.  Panels  of  back, 
with  green  mosaics,  tooled  with  moresque  orna- 
ments. 

76  ZAEHNSDORF.         \_Edward    Fiiz 

Gerald.']     The    Rubaiyat.     London. 
1894. 

Green  morocco,  with  corners  and  centre  orna- 
ments of  Persian  design  stamped  in  gold. 

77  CHAMBOLLE-DURU.      Andrew 

Lang.       AucASSiN     and     Nicolete. 
London.      1887. 

Blue  morocco,  gold  tooled  in  diaper  pattern, 
sides  and  back,  the  lozenge  compartments  formed 
by  fillets  and  dotted  lines,  and  decorated  with 
mosaic  florets  in  two  colors  and  delicately  tooled. 
Double  of  red  morocco  with  six  medallions, 
decorated  with  intertwining  sprays  of  foliage,  and 
joined  by  interlacing  fillets.  Blue  watered  silk 
ends.  Very  much  in  the  manner  of  a  famous 
example  by  Padeloup. 


46  Catalogue  of  Bookbindings 

78  RIVIERE  &  SON.       {Edward  Fitz 

Gerald.~\      The  Rubaiyat.     London. 
1896. 

Green  morocco,  with  Vedderesque  Persian  design 
of  palm  leaves  and  dots,  sides  and  back.  Double 
of  green  morocco,  with  red  mosaics  of  palm  leaves, 
in  corners  and  centres,  tooled  with  florets  and 
foliage.     Green  watered  silk  ends. 

79  LORTIC      FR£RES.       Gerard     de 

Nerval,     Sylvie.     Paris.      1886. 

Claret  morocco,  with  triple  fillet  border  and 
angle  florets.     Panels  on  back  of  fillets  and  florets. 


80  ZAEHNSDORF.  William  Adlington. 
Marriage  of  Cupid  and  Psyche. 
London,     m.d.ccclxxxvii. 

Red  morocco,  with  semis  of  pierced  hearts, 
quiver  and  arrows,  and  florets,  in  alternation. 
Tooled  borders,  inside,  of  foliage  and  fillets,  with 
gray  silk  ends  and  linings. 


No.  7S.— RIVIERE  &  SON 


Catalogue  of  Bookbindings  47 

81  MERCIER.      Eugene   Field.      With 

Trumpet   and    Drum.     New   York. 

1892. 

Red   morocco,  with   triple  fillet  border  and  full 

gold  tooled  back  panels.     Double  of  blue  morocco, 

with   fillet  and  roulette  border  and  floriated  angle 

decorations. 

82  CHAMBOLLE  -  DURU.       Eugene 

Field.    The  Holy  Cross.    Cambridge 
and  Chicago,     mdcccxciii. 

Blue  morocco,  with  border  of  fillets,  curves, 
intertwining  rose  sprays  floriated,  and  bees  and 
butterflies.  Double  of  red  morocco,  with  border 
of  rectangular  fillets,  and  floriated  rose  sprays  in 
angles.     Green  silk  brocade  ends. 


83  CHAMBOLLE  -  DURU.  Eugene 
Field.  Love  Songs  of  Childhood. 
New  York,     mdcccxciv. 

Red  morocco,  with  two  border  fillets  enclosing 
panel  design  in  Arabesque  of  great  elaboration. 
Panels  of  back  with  similar  decorations  of  foliage, 
bees,  birds,   etc.      Double  of  blue  morocco,  and 


48  Catalogue  of  Bookbindings 

broad  border  a  filets  droits  et  courbes  with  inter- 
twining foliage  in  dentelle  style.  Red  watered 
silk  ends. 

84  DOVES  BINDERY.  John.  Keats. 
Poems.  Kelmscott  Press,  London. 
1894. 

Olive  green  morocco,  with  foliated  and  floriated 
sides  forming  centre  ovals,  enclosing  wreaths  of 
laurel  and  the  name  Keats  on  both  covers. 
Panels  between  bands  of  back  also  decorated  with 
daffodils  and  laurel. 


85  DE  COVERLY.  William  Morris. 
King  Florus  and  the  Fair  Jehane. 
Kelmscott  Press,  London.      1893. 

Dark  green  morocco,  with  border  of  fillets  and 
dotted  lines,  light  green  mosaics  in  the  angles, 
tooled  with  moresque  outline  ornaments,  dots,  and 
roundlets.  Quatrefoil  of  red  mosaic  in  centre 
studded  with  gold  dots,  the  field  surrounding  the 
quatrefoil  tooled  with  moresque  outline  ornaments, 
dots,  and  roundlets.  Back  panels  with  delicate 
tooling    and    mosaic    quatrefoils    in    red.      Inside 


No.  S4.^THE   DfWES    BINDERY 


Catalogue  of  Bookbindings 


49 


borders  and  joints  with  fillets  and  moresque  dec- 
orations in  outline.  Red  watered  silk  linings  and 
ends. 

86  ZAEHNSDORF.      B.    G.    Rossetti. 

Sonnets  and  Lyrical  Poems.   Kelm- 
scott  Press,  London.      1894. 

Blue  morocco,  a  single  gold  fillet  enclosing  a 
diaper  pattern  of  compartments,  with  alternating 
rose  spray  and  dot  decorations  in  gold,  and  wild 
roses  in  blind.  Similar  decorations  on  back. 
Double  of  red  morocco  with  broad  rectangular 
fillet  borders,  enclosing  stamped  decoration  in 
centre  panel  reproduced  from  a  design  by  the 
author.  Brown  watered  silk  ends.  The  fore  and 
bottom  edges  gilded  in  the  rough. 

87  S.  DAVID.      Eugene  Field.      Second 
Book  of  Verse.     Chicago.      1892. 

Blue  morocco,  with  intertwining  border  of  rose 
vines,  the  roses  and  some  of  the  buds  being 
mosaics  of  red,  tooled  in  gold.  Panels  of  back, 
mosaics  of  red  roses,  with  foliation  in  gold  tool- 
ings. Double  of  red  morocco,  with  fillets  and 
gold  dotted  lines  enclosing  a  border  of  forget-me- 
nots  and  foliation  in  gold. 


50  Catalogue  of  Bookbindings 

88  RIVIERE  &  SON.      S.  T.  Coleridge. 

Poems.      Kelmscott    Press,    London. 
1896. 

Green  morocco,  with  border  of  fillets  and 
roulettes  enclosing  floriated  and  foliated  decora- 
tions in  gold — waterlilies,  and  foliation  in  outline 
studded  with  gold  dots.  Linings  and  ends  of  red 
watered  silk. 

89  ZAEHNSDORF.  Eugene  Field.  Cul- 

ture's Garland.     Boston.     1887. 

Pig  skin,  natural  color,  with  side  and  back  dec- 
orations of  strings  of  sausage. 

90  ZAEHNSDORF.     J.    W.    Mackail. 

BiBLiA     Innocentium.        Kclmscott 
Press,  London.      1892. 

Royal  purple  morocco,  with  two  border  fillets, 
one  in  blind,  one  in  gold,  enclosing  a  panel  decora- 
tion in  diaper  pattern,  blind  tooled,  the  compart- 
ments bearing  acorns,  florets,  and  maple  leaves  in 
alternation  and  in  gold — the  panel  surrounded  by 
floral  decorations  in  gold.  Red  silk  linings  and 
ends,  edges  gilded  in  the  rough. 


MMM^^^^^ 


No.  OI.-THK    DOVES    BINDERY 


Catalogue  of  Bookbindings  5 1 

91  DOVES  BINDERY.    Robert  Herrick. 

Poems.       Kelmscott    Press,    London. 
1895. 

Green  morocco,  with  fillets  and  dotted  lines 
enclosing  a  diaper  design — the  compartments  with 
roses  and  foliations,  and  having  tulips  at  angles. 
Back  panels  with  roses  and  foliations.  Inside 
borders  and  joints  with  fillets  and  corner  floral 
decorations.      White  vellum  ends. 

92  RIVIERE    &    SON.     P.   B.   Shelley. 

Poetical  Works.      Kelmscott  Press, 
London.      1895. 

Red  morocco,  tooled  in  diaper  design,  the  regular 
compartments  studded  with  gold  dots,  the  irregular 
with  chrysanthemums  and  foliations.  Back  panels 
and  inside  borders  with  foliations.  Red  watered 
silk  ends  and  linings. 

^2  ZAEHNSDORF.  E.  H.  Garrett. 
Elizabethan  Songs  in  Honor  of 
Love  AND  Beauty.   Boston,  mdcccxci. 

Orange  morocco,  with  mosaic  border  band  of 
red,  lined   with  gold,  enclosing  panel  of  irregular 


52  Catalogue  of  Bookbindings 

mosaics  in  red  surrounded  by  foliations,  and  with 
foliations  and  Le  Gascon  tooled  centrepiece  with 
a  medallion  and  red  mosaic.  Back  panels  with 
quatrefoils  in  mosaic  surrounded  by  foliations. 
Double  of  dark  red  ground  with  mosaics  of 
medallions  in  green,  gold  tooled,  surrounded  by 
band  of  orange  morocco,  and  a  further  band  of 
dark  red  mosaic  with  Le  Gascon  tooling.  Dark 
red  morocco  ends  with  filleted  border  and  angle 
ornaments. 

94  RINGER.     Eugene  Field.    The  Love 

Affairs   of  a   Bibliomaniac.      New 

York,  m.dccc.xcvi. 
Green  morocco,  with  border  of  fillets  and  dotted 
lines  enclosing  panel  design  of  fillets  and  inter- 
twining rose  vines — the  flowers  in  mosaics  of  red 
and  yellow.  Double  of  white  morocco,  with  tooled 
borders  and  angles.      Dark  green  watered  silk  ends. 

95  M.      RITTER.       U  Abbe      Prevost. 

Manon  Lescaut.   Edinburgh.    i886. 

Blue  morocco,  with  fillet  and  roulette  borders 

and  broad  foliations  in  angles.      Double  of  salmon 

morocco,  with  border  fillets,  bearing  a  semis  of 

billing  and  cooing  doves.     Silk  brocade  ends. 


Catalogue  of  Bookbindings 


53 


96  ZAEHNSDORF.       I-zaak      Walton. 

The    Complete    Angler.      London. 

mdcccxxiii. 
Green  morocco,  with  broad  border  in  foliation, 
and   six   medallions    bearing   symbolic   decorations 
differing  on  two  sides.      Double  and  ends  of  green 
morocco  with  border  fillets. 

97  ZAEHNSDORF.        John       Ruskin. 

Sesame  and  Lilies.    London.     1865. 
Green   morocco,   with   border   fillets   enclosing 
diaper  design  with  floriated  decorations. 

98  RIVIERE  &  SON.  Syr  Perecyvelle 

OF  Gales.  Kelmscott  Press,  London. 
1895. 
Brown  morocco,  with  gold  fillets  enclosing 
broad  band  of  roses  and  foliage  in  blind  tooling, 
the  relief  portions  of  the  leather  sprinkled  with 
gold  dots,  and  the  field  also  with  floral  decorations 
in  blind. 

99  ZAEHNSDORF.      Anne  Bradstreet. 

Poems.     The  Duodecimos.      1897. 
Blue  morocco,  with  compartment  formed  of  fil- 
lets, foliated  and  studded  with  gold  dots. 


54  Catalogue  of  Bookbindings 


loo  ZAEHNSDORF.  William  Loving 
Andrews.  The  Old  Booksellers 
OF  New  York.     New  York.     1895. 

Dark  green  morocco,  with  interlacing  frame- 
work of  fillets  and  semi-circles,  and  interlacing 
scrollwork  with  terminations  of  moresque  orna- 
mentation, azured  and  in  outline,  in  Grolieresque- 
Italian  manner. 


loi     TRAUTZ-BAUZONNET.      Fer- 
nelii.  De  Vacvandi.  Lugduni.   1548. 

Red  morocco,  with  centrepieces  on  sides  of 
Arms  surmounted  by  a  crown,  and  surrounded  by 
two  scrolls,  the  upper  bearing,  J.  Gomez  De  La 
Cortina  et  Amicorum,  the  lower,  Fallitur 
HoRA  Legendo. 


102  DOVES  BINDERY.  Sterne.  A 
Sentimental  Journey.  London. 
1894. 

Nile  green  morocco,  with  a  semis  of  small 
hearts,  enclosed  by  a  double  border  fillet,  decorat- 
ing the  sides,  and  with  tooled  panels  on  back. 


i 

■liJHniHBKsl^rAinwII 

|vvv/ 

lit 

•  ■■\kI 

JiK^r¥Z^f 

; 

11 

if 

y 

m  - ;  , 

1 

^P^iPi^ 

f  "■:1^':f  ^^5^^1i^^i■ 

l.iiiivixkf'M^ii 

'5:1 

m^^BEmm^^m 

a 

wm^^^^ 

No.  lOD.-ZAEHNSDORF 


Catalogue  of  Bookbindings  55 


103  ZAEHNSDORF     (Pere).       Goethe. 

Faust.      London,     mdcccxxxviii. 

Green  morocco,  with  triple  border  fillet,  and 
corner  decorations  with  delicate  mosaics  of  red. 
Double  of  red  morocco,  with  broad  dentelle  border 
and  corner  medallions,  a  petits  fers.  White  watered 
silk  gold  tooled  ends. 

104  RIVIERE  &  SON.     John  Sterling. 

Strafford.      London.      mdcccxliii. 
Turquoise  blue  morocco,  Jansen  style  outside, 
with   double  of   red   calf   and  dentelle  (Derome) 
borders.      Red  corded  silk  ends. 

105  RAM  AGE.     Tennyson.     The  Prin- 

cess.     London,     mdccclxxx. 
Red  morocco,  with  a  semis  of  violets  on  sides 
and  back  enclosed  by  border  of  fillets. 

106  BEDFORD.    Thackeray.   The  Four 

Georges.     London,     m.dccc.lxi. 
Red  morocco,  with  fillet  border,  angle  decora- 
tions and  back  panels  in  Roger  Payne  style.  Inside 
borders,    linings,    and    end-papers    also     in    same 
manner. 


56  Catalogue  of  Bookbindings 

107     ZAEHNSDORF       (Pere).       {Beck- 
ford.~\     An  Arabian  Tale,  from  an 
Unpublished   Manuscript.      Lon- 
don,    mdcclxxxvi. 

Brown  morocco,  with  border  fillets  and  dots, 
and  angle  decorations,  with  small  medallions,  in 
Le  Gascon's  manner.  Medallion  back  panels  and 
Gascon  ornaments. 


108  CHARLES  LEWIS  (?)  Thomas 
Zouch.  The  Life  of  Isaac  Walton. 
London,     mdcccxxiii. 

Red  Russia  leather,  with  panelled  sides  and  sym- 
bolic centre  ornaments,  and  full  tooled  back  panels. 


109 


BEDFORD.  Hunt.  A  Jar  of 
Honey  from  Mount  Hybla.  Lon- 
don,    mdcccxlviii. 

Blue  morocco,  with  filleted  border,  Roger  Payne 
angle  ornaments,  and  centre  decorations  of  a 
wreath  surrounding  a  jar,  tooled,  and  studded  with 
gold  dots.  Bees  stamped  in  centre  and  angle  dec- 
orations, also  in  full  tooled  back  panels.  Red 
corded  silk  linings  and  ends,  and  gilt  over  blue 
edges. 


No.  110.— RIVIP:RE   &  SON 


Catalogue  of  Bookbindings  ^j 

no  RIVIERE  &  SON.  Austin  Dobson. 
Old -World  Idylls,  London, 
m.d.ccclxxxili. 

Ruby  red  morocco,  with  border  of  single  fillet, 
sides,  and  back,  and  conventional  design  of  lilies — 
flowers,  leaves,  and  stems — and  with  nebulae  of 
gold  stars,  and  scroll  with  title  at  top  on  front 
cover.  Double  of  green  morocco,  with  tooled 
borders,  and  green  watered  silk  ends.  Outside 
design  by  Batten,  and  tools  cut  to  order  for  this 
book. 

111  BEDFORD.   Samuel  Rogers.    Poems. 

London.     1834. 

Emerald  green  morocco,  with  broad  dentelle 
(Derome)  border  and  back  panels. 

112  ALFRED   MATTHEWS.     Austin 

Dobson.     Eighteenth  Century  Es- 
says.     London,     mdccclxxxii. 

Red  morocco,  with  tooled  corners,  back  panels, 
dotted  lines,  and  inside  borders,  Roger  Payne  style. 
Blue  watered  silk  linines  and  ends. 


58  Catalogue  of  Bookbindings 


113  TOUT.      Goldsmith.     The  Vicar  of 

Wakefield.     London,     mdccclv. 
Red  morocco,  with  triple  fillet  border,  and  tooled 
angle  decorations  and  back  panels. 

114  TOUT.      Horace   and    fames   Smith. 

Rejected      Addresses.         London. 

Green  morocco,  with  dentelle  border,  enclosed 
by  double  fillet.     Tooled  back  panels. 


115 


BRADSTREET'S.  Hawthorne.  The 
Scarlet  Letter.  Boston,  mdcccl. 
Green  morocco,  with  double  border  fillet  in 
blind  on  sides,  and  Gascon  ornaments  in  back 
panels.  Double  of  green  morocco,  with  gold 
dentelle  border  in  Le  Gascon  tools,  corner  mosaics 
of  red,  floriated,  and  letter  A  in  mosaic  in  centre 
surrounded  by  Le  Gascon  (pointille)  tooling.  Red 
watered  silk  ends  with  gold  tooled  borders. 


116 


ET 


CUZIN.        Gautier.        Emaux 
Camees.     Paris.      1887. 
Sevres  blue   morocco,  with    border  fillets    and 
dotted  line  enclosing  broad  panel  design  of  solid 


No.  115.— (DOUBLE)    BRADSTREETS 


No.  116— CUZIN 


Catalogue  of  Bookbindings  59 


face  corner  decoration,  joined  by  fillets.  Full 
tooled  back  panels.  Double  of  sard  red  morocco, 
with  border  of  fillets,  dotted  lines,  and  florets. 
Edges  hand  painted  and  gilded. 

117  STIKEMAN    &    CO.       Sir   Philip 

Sidney.        Miscellaneous      Works. 

Boston,     mdccclx. 
Dark  green   morocco,  with  tooled  corners  and 
back  panels,  and  with  broad  roulette  inside  borders 
and  joints. 

118  MARIUS  MICHEL.       Gerard  de 

Nerval.  Sylvie.  Paris.  1886. 
Red  morocco,  with  border  fillets,  twining  foliage 
corner  ornaments,  and  centre  decoration  of  twin- 
ing rose  sprays,  the  roses  being  in  mosaics  of  white 
morocco.  Delicately  tooled  back  panels,  and  with 
mosaics  of  white  roses.  Linings  and  ends  of  blue 
brocade  of  a  pattern  contemporary  with  the  story. 


119 


STIKEMAN     &     CO.         William 
Blades.     The    Enemies    of    Books. 
London.     1880. 
Green  morocco,  decorated  with  rats,  front  side, 
and  back  panels. 


6o  Catalogue  of  Bookbindings 

1 20  ZAEHNSDORF     (Pere).        Joseph 

W.  Zaehnsdorf.  The  Art  of  Book- 
Binding.     London.      1880. 

Brown  morocco,  with  fillet  and  roulette  border, 
tooled  azured  decorations  in  angles  and  back 
panels,  and  centre  ornaments  of  Grolier  design. 

121  MORLEY.     \_J.B.Inglis:\     Philo- 

BiBLON,  A  Treatise  on  the  Love  of 
Books  by  Richard  de  Bury.  Lon- 
don,    mdcccxxxii. 

Dark  olive  morocco,  with  border  of  fillets  and 
roulette,  quarter  rose  angle  decorations,  and  centre 
rose  decorations  surrounded  by  ornamentation  a 
pettts  fers. 

122  MATTHEWS.       Horace.      Opera. 

London,     mdccclxxxii. 

Dark  green  morocco,  with  fillet  border  enclos- 
ing fillet  panel  and  corner  ornaments.  Full  tooled 
back  panels.  Double  of  red  morocco,  with  Le 
Gascon  dentelle  borders,  and  red  watered  silk  ends. 


Catalogue  of  Bookbindings  6i 

123  BRADSTREET'S.       Eugene    Field. 

With  Trumpet  and  Drum.  New 
York.      1892. 

Dark  blue  morocco,  with  border  of  interlacing 
fillets  and  corner  compartments,  tooled  with  trum- 
pet and  drum,  roundlets,  stars,  and  dots.  Back 
panels  similarly  tooled. 

124  RIVIERE  &  SON.     Robert  Brown- 

ing.    Strafford.      London.      1837. 

Dark  green  morocco,  with  triple  fillet  border, 
enclosing  triple  fillet  panel  with  corner  ornaments. 
Full  tooled  back  panels. 

125  RINGER.         Landor.         Citation 

AND  Examination  of  Shakspeare 
Touching  Deer-Stealing.  Lon- 
don,    m.dccc.xxxiv. 

Green  morocco,  with  roundlet  and  fillet  border, 
and  tooled  angle  and  back  panel  decorations  in 
Roger  Payne's  manner. 


62  Catalogue  of  Bookbindings 

126  BRADSTREET'S.    Ruskin.  Ethics 
OF  THE  Dust.     London.      1866. 

Green  morocco,  with  single  blind  fillet  around 
border,  and  double  of  red  morocco,  with  dentelle 
decoration. 

127  HAYDAY.  AlaricA.Watts.  Lyrics 

OF  THE  Heart.      London.      1851. 

Dark  brown  morocco,  with  border  of  two  fillets 
enclosing  a  panel  design  of  fillets  and  roulettes. 
Tooled  back  panels. 

128  HOLLOWAY.         Eden     Warwick. 

The  Poets'  Pleasaunce.     London, 
mdcccxlvii. 

Orange  morocco,  with  mosaics  in  red,  green, 
and  blue,  sides  and  back,  with  elaborate  Le  Gascon 
tooling.      Bound  for  the  Paris  Exposition  of  1876. 

129  MATTHEWS.    Walton.  The  Com- 

plete Angler.     London.     1808. 

Dark  green  morocco,  with  border  fillets  in  blind, 
and  emblematic  corner  and  back  panel  ornaments 
in  gold. 


Catalogue  of  Bookbindings  63 

130  PAWSON       &       NICHOLSON. 

Longhi.     La  Calcographia.    Milan. 
1830. 
Olive   green    morocco,    with    border    of    three 
fillets  enclosing  a  tooled  panel  decoration.     Tooled 
back,  panels  enclosed  in  fillets. 

131  RIVIERE    &    SON.      Ovid.      The 

Art  of  Love.      London.      1804. 

Red  morocco,  with  border  of  fillets  and  Greek 
fret,  and  tooled  back,  all  in  manner  of  Kalthoeber, 
an  eighteenth  century  binder. 

132  ZAHN.      Hutchinson.      Ballads   of 

A  Country  Bookworm.     Derby  and 
Nottingham.      1888. 

Red  morocco,  with  border  fillets,  and  angle 
decorations  in  the  manner  of  the  Eves. 

133     .    John  Hannett.    Bibliopegia. 

London.      1848. 

Red  morocco,  with  broad  Harleian  border,  hav- 
ing cones  and  acorns  at  the  terminations,  and 
angle  ornaments  of  crests  and  crowns. 


64  Catalogue  of  Bookbindings 

134  SIR       EDWARD       SULLIVAN. 

Lord  Herbert  of  Cherbury,      Poems. 

London.  1881. 
Coral  pink  morocco,  with  dotted  and  filleted 
lines  having  mosaics  at  angles  foliated  and  studded 
with  gold  dots;  a  mosaic  band  panel  surrounded 
with  foliations  and  dotted  ornamentation,  with  bees 
and  birds  in  mosaic  and  gold  toolings — the  field 
within  the  band  having  angle  and  side  decorations 
studded  with  dots,  and  with  leafy  sprays  and  birds 
in  gold,  and  with  mosaics  of  bees  and  flowers. 
The  linings  and  ends  of  white  with  a  semis  of 
florets. 

135  BOSQUET.       UAnacreon.       Odes. 

Didot,  Paris.      1864. 
Red    morocco,    with    blind    fillet    border,    and 
monogram  in  gold  in  centres.      Double  and  ends 
of  light  green  morocco  with   tooled  lace  borders 
and  semis  of  acorns. 

136  ZAHN.     Ik  Marvel.     Reveries   of 

A  Bachelor.     New  York.      1850. 
Red  morocco,  with  tooled  floret  design  on  upper 
half  of  front  cover,   and   corner  and   back    floret 
decorations. 


No.  l;!4.— SIR   KDWARD    SULLIVAN 


Catalogue  of  Bookbindings  65 

137  ZAEHNSDORF.       {Edward     Fitz 

Gerald.~\    The  Rubaiyat.     London. 
1895. 

Green  morocco,  with  floriated  and  foliated  panel 
within  border  of  florets  and  fillets. 

138  CLAESSENS.       T,    Westwood. 

Twelve  Sonnets.    London.    (1870). 

Citron  morocco,  with  border  rectangular  fillets, 
and  panel  of  interlacing  fillets  forming  compart- 
ments. 

139  RIVIERE    &    SON.       Mrs.    Bury 

Palliser.     History  of  Lace.      Lon- 
don.     1865. 

Wine  colored  morocco,  with  double  fillet  border 
enclosing  a  band  composed  of  fillets  and  toolings 
joined,  with  corner  ornaments. 

140  MACKENZIE.    Northcote.    Fables. 

London,     mdcccxxxiii. 

Dark  green  morocco,  with  double  fillet,  angle 
decorations  of  scrolls,  florets  and  stars,  and  full 
tooled  back  panels. 


66  Catalogue  of  Bookbindings 

141  BEDFORD.      Henry  Shaw.      Illu- 

minated     Ornaments.        London. 

Red  morocco,  with  border  of  fillets  and  rolls, 
enclosing  narrow  border  of  Renaissance  design 
with  angle  decorations.      Full  tooled  back  panels. 

142  RUB  AN.      Bret    Harte.      Poetical 

Works.     Boston.      1887. 

Red  morocco,  with  frame  of  fillets  supporting 
morning-glory  vine — the  flowers  and  leaves  being 
mosaics  of  various  colors. 

143  LEWIS.     Alex.  Brome.     Songs  and 

Other  Poems.     London.      1661. 

Old  calf,  with  double  fillet.  Renaissance  angle 
ornaments,  and  full  tooled  back  panels. 

144  RIVIERE.     Oliver  Goldsmith.     The 

Vicar    of    Wakefield.       London, 
mdcccxliii. 

Blue  morocco,  with  Le  Gascon  borders  enclosed 
within  fillets.  Le  Gascon  centre  ornamentation 
with  medallion  of  red  mosaic. 


Catalogue  of  Bookbindings  67 

145  RAMAGE.  Alfred  Tennyson.  Poems. 

London,     mdcccxlil. 

Red  morocco,  with  border  fillets  in  gold  and 
blind  tooling,  and  corner  ornaments  in  gold. 
Ex  Libris  Bishop  Samuel  Wilberforce. 

146     .     Samuel  Butler.     Hudibras. 

London.      1800. 

Dark  blue  crimped  morocco,  with  border  of 
fillets,  and  tooled  back  panels. 

147  LORTIC.  Les  Fleurs  et  Manieres 

DES  Temps   Passez.     Paris.      15 13. 

Red  morocco,  with  double  border  fillet  in  blind, 
panel  band  in  blind  with  corner  ornaments  in  gold 
of  monogram  crowned,  and  centre  ornaments  of 
Arms  on  front  and  genealogical  tree  on  back 
cover. 

148  ROUSSELLE.  Ovide.  Les  Amours. 

Paris.      1879. 
Blue   morocco,  with  dentelle  (Derome)  border, 
with  mosaics  of  red  in  medallions  at  corners,  and 
in  back  panels. 


68  Catalogue  of  Bookbindings 

149  TOUT.      Lamotte '  Fouque.      Peter 

ScHLEMiHL.     London.      1824. 
Dark  green   morocco,  with  double  border  fillet 
in  blind,  and  mosaics  of  white  pansies,  gold  lined 
and  foliated,  in  angles  and  in  back  panels. 

150  CHAMBOLLE-DURU.      Andrew 

Lang.      AucAssiN     and    Nicolete. 

Portland,     mdcccxcv. 
Lemon  morocco,  with  panel  formed  of  roulette 
side  bands,  diapered  top  and  bottom,  with  twining 
rose  sprays,  bees,  and  birds.     Linings  and  ends  of 
silk  brocade. 

151  ZAEHNSDORF.       Andrew   Lang. 

Ballads  in  Blue  China.     London. 

mdccclxxxviii. 
Blue  morocco,  with  spray  of  ivy  on  front  cover, 
and  ivy  leaves  in  back   panels,  on  back  cover,  and 
on  inside  borders,  all  gold  tooled. 

152  ZAEHNSDORF.    Christina  G.  Ros- 

setti.     Verses.     London.      1847. 
Brown  morocco,  with  fillet  border,  branches  of 
foliage  in  angles  and  on  back. 


Catalogue  of  Bookbindings  69 

153  AMAND.  Gerard     Be     Nerval. 

Sylvie.     Paris.      1886. 
Blue  morocco,  border  of  fillets  and  dotted  line, 
and  interlacing   foliations  forming  compartments, 
with  butterflies  in  spaces,  all  in  gold  toolings. 

154  LEWIS  (?).    .    Essays.   Lon- 

don.     1 82 1. 
Green   crimped   morocco,  with   border   of   five 
fillets,  and    panel   formed    of    fillets   and    fleuron 
angle  ornaments.  , 

155  ZAEHNSDORF.  John      Keats. 

Endymion.     London.      1818. 
Olive  green   morocco,  with    framework   in   red 
mosaic   forming    geometrical    compartments,    and 
scrollwork,  with  azured  moresque  ornaments,  flow- 
ing through  it,  in  the  style  of  Grolier. 

156  ZAEHNSDORF.     Frank  W.  Gun- 

saulus.    Phidias  and  Other  Poems. 

Chicago.      1 89 1. 
Blue   morocco,  with   broad  borders,  and   back 
panels,  of  passion  flowers,  foliated,  in   gold  tool- 
ings.   Inside  floret  borders  studded  with  gold  dots. 


yo  Catalogue  of  Bookbindings 

157  STIKEMAN  &  CO.       Decree    of 

Star  Chamber  Concerning  Print- 
ing. Grolier  Club,  New  York. 
1884. 

Brown  morocco,  with  a  design  representing  the 
ceiling  of  the  Star  Chamber  tooled  in  gold.  Broad 
roulette  inside  borders,  with  additional  toolings  in 
gold. 

158  (MISS)  IRENE  NICHOLS.  Bante 

Gabriel  Rossetti.  Poetical  Works. 
London.      1891. 

Green  morocco,  with  mosaics  of  red  roses  lined 
and  foliated  in  gold  on  sides  and  back.  Inside 
borders  with  mosaics  of  red  rose-buds  foliated  in 
gold.  Gaufre  edges.  Silk  brocade  linings  and 
ends. 

159  LORTIC.  Virgilii.         Carmina 

Omnia.     Parisiis.     mdccclviii. 

Dark  blue  morocco,  with  blind  fillets,  and  angle 
and  centre  ornaments  in  gold. 


Catalogue  of  Bookbindings  71 


160     ; — .  Demoustier.  Lettres 

A   Emilie.     Paris.      1803. 

Dark  blue  morocco,  with  broad  dentelle  border. 


161  ZAEHNSDORF.  Blake.  Songs 
OF  Innocence  and  of  Experience. 
London.      1868. 

Orange  morocco,  with  semis  of  flaming  hearts 
and  florets  in  alternation. 


162     COB  DEN-SANDERSON.        A 
Guest  Book. 

Limp  vellum,  with  circuit  edges  and  brocade 
ties,  and  with  corner  compartments  of  foliage  and 
flowers  tooled  in  gold. 


163     BRADSTREET'S.  \Fitx-Greene 

Halleck.']    Fanny.   New  York.    18 19. 

Red  morocco,  with  dentelle  (Derome)  border. 


72  Catalogue  of  Bookbindings 

164  STIKEMAN  &  CO.     Edward  Fitz 

Gerald.     Rubaiyat.     Grolier    Club, 
New  York,     mdccclxxxv. 
Blue   morocco,  with   broad   border  of    Persian 
design  tooled  in  gold. 

165  STIKEMAN    &    CO.       Theo.    L. 

DeVinne.       Christopher    Plantin. 
Grolier  Club,  New  York.      1888. 

Brown  morocco,  with  border  of  fillets  joining 
angle  compartments  of  Renaissance  design — the 
open  spaces  with  printing  press  stamped  in.  Back 
panels  tooled  in  gold  a  petits  fers. 

166  PETIT.       Hordal.      Avrelianensis 

PvelltE  Historia.     m.dc.xii. 

Blue  morocco,  with  double  fillet  enclosing  a 
semis  of  fleurs-de-lys,  and  coat  of  arms  as  centre 
ornament. 


167     TOUT.        Anacreontis 
Londini.     mdcccii. 

Lemon  morocco,  with  lace  border. 


Odaria. 


Catalogue  of  Bookbindings  73 

168  RIVIERE  &  SON.     M.  M.  Grimm. 

German    Popular    Stories.     Lon- 
don.     1823. 

Green  morocco,  with  fillet  border,  panel,  corner 
and  angle  decorations,  and  with  full  tooled  back 
panels. 

169  ZAEHNSDORF.       Martin  Luther. 

HuLLA  Contra  Error.      1520. 

Brown  morocco,  with  border  and  panel  of 
fillets  in  gold,  and  blind  and  corner  ornaments  of 
gold. 

170  THIERRY.     Joannis  Pici.    Miran- 

DUL^    EpISTOL^.        1495. 

Brown  morocco,  with  fillets  in  blind,  corners  in 
gold,  and  Renaissance  centre  stamp  in  gold. 

171  P.  RAPARLIER.     MARIUS 

MICHEL,     DOREUR.       Doi 

AuREi  Opuscoli    di    Thomaso    de 
Aquino.     Perusia.   15 10. 
Green   morocco,  with  black  mosaic  strapwork 
interlacement,  lined  in  gold,  in  style  of  Grolier. 


74  Catalogue  of  Bookbindings 

172     STIKEMAN  &  Co.     F.  W.  Bourdil- 
lon.  AucAssiN  AND  NicoLETTE.  Lon-" 
don.      1887. 

Blue  morocco,  with  double  fillet  border,  and 
angle  and  back  panel  decorations,  in  Roger  Payne's 
manner. 


173     GRUEL.      CEuvRES  de  Plutarque. 
Paris,     mdcccvii. 

Dark  purple  morocco,  with  broad  band  of 
mosaics  in  various  colors  joined  by  fillets.  Centre 
ornament  of  rose  medallion  in  mosaics  of  various 
colors,  and  small  upper  and  lower  trefoil  mosaics 
all  lined  out  in  eold. 


174  SANFORD.  C.W.  A  Two  Years 
Journal  in  New  York.  London, 
mdcci. 

Olive  green    morocco,  with    border  of   fillets, 
roulettes  and  Le  Gascon  ornamentation. 


Catalogue  of  Bookbindhigs  j  ^ 

175  LORTIC.       Boucher.       Histoire 

Veritable      et      Naturelle      des 
MoEURS   et  Productions   du  Pays 

DE      LA    NOUVELLE      FrANCE.         Paris. 

m.dclxiv. 
Red  morocco,  with  border  and  panel  fillets,  and 
floret  corner  ornaments.      Full  tooled  back  panels. 

176  BEDFORD.      America    af    Swed- 

BERG.     Skara.      1732. 

Red  morocco,  with  border  and  panel  fillets  in 
blind  and  in  gold,  with  corner  ornaments  in  gold. 

177  CHAMPS.       Mavrile  de  S.  Michel. 

Voyage  des  Iles  Camercanes. 

Wine  colored  morocco,  with  triple  border  fillets, 
and  full  tooled  back  panels  in  gold. 

178  LORTIC     FR£RES.         Manifest 

SiJDER    CoMPAGNEY.         Stockholm. 
1626. 
Red    morocco,    with    border    and  panel   fillets, 
angle  and  corner  ornamentation,  with  centrepiece, 
in  Le  Gascon  tooling. 


76  Catalogue  of  Bookbindings 


179  DAVID.    John  Pope.    A  Tour,  etc. 

Richmond,     m.dcc.xcii. 

Red  morocco,  with  border  and  panel  fillets,  and 
angle  and  corner  ornamentation. 

180  RIVIERE    &    SON.       A    Sermon 

Preached  at  Plimmoth. 

Orange  morocco,  with  double  fillet  enclosing 
Grolieresque  design  of  interlacing  scrollwork,  with 
moresque,  azured  and  outlined,  ornaments  at 
terminations.  At  centre  a  mosaic  of  brown 
morocco  encloses  compartments  with  title  on  front, 
and  place  and  date  on  back  cover. 

181  LORTIC      FR£RES.       Handels 

Compagnies  Contract.  Stockholm. 
1625. 
Red   morocco,  with   lace  border  of  Le  Gascon 
design. 

182  LORTIC  FR£RES.    Privilegium, 

ETC.     Stockholm.      1626. 

Red  morocco,  with  border  fillets  enclosing  band 
of  Le  Gascon  ornamentation. 


No.  ISU.— RIVIERE  &  SON 


Catalogue  of  Bookbindings  jj 

183  LORTIC  FR£RES.      Forklaring 

OFWER  HaNDELS  CoNTRACTET. 

Stockholm.      1626. 

Red  morocco,  with  broad  dentelle  border  of  Le 
Gascon  design. 

184  PRATT.       History    of    the    Five 

Indian    Nations,      Bradford,   New 
York.      1727. 

Dark  red  morocco,  with  double  fillet  interlace- 
ment forming  geometrical  compartments.  Blue 
morocco  fireproof  case  with  interlacing  fillet  de- 
sign of  the  book  repeated. 


185  ZAEHNSDORF.  [John  Haywood.'] 
The  Christian  Advocate.  Nash- 
ville.     18  19. 

Red  morocco,  with  framework  of  interlacing 
fillets  forming  compartments  ornamented  in  the 
manner  of  the  Eves  —  the  irregular  spaces  with 
sprays  of  foliage,  a  la  fanfare.  Back  panels 
and  inside  borders  finished  with  same  tools.  Red 
watered  silk  linings  and  ends. 


yS  Catalogue  of  Bookbindings 

i86     ZAEHNSDORF.      Copedis  Breue 
DE     LAS     Processiones.        Mcxico. 

1544. 

Green  morocco,  with  fillet  compartments,  and 
pointille  tooling  in  imitation  of  a  Le  Gascon  de- 
sign.    Green  watered  silk  linings  and  ends. 

187     ZAEHNSDORF.     Mourt's  Rela- 
tion.      London.      1622. 

Green  morocco,  with  band  of  eight  fillets, 
broken  at  the  joints;  double  of  brown  morocco 
with  fillets  and  interlacing  foliations  of  Indian 
corn.      Brown  morocco  ends. 


188  ZAEHNSDORF.  Benj.  Church. 
Entertaining  Passages  Relating 
TO  Philip's  War.      Boston.      1716. 

Brown  morocco,  with  Le  Gascon  dentelle 
border  and  mosaics  of  light  blue,  surrounded  by 
mosaic  band  of  darker  brown  bearing  scrollwork 
ornamentation.  Double  of  dark  brown  with 
Derome  borders,  brown  morocco  ends. 


Catalogue  of  Bookbindings  79 

189      PRATT.    Martyr  and  Oviedo.    Indie 
OcciDENTALi.     Vinegia.      1534- 

Brown  morocco,  with  border  fillets,  bands,  and 
other  ornaments  tooled  in  blind. 


190 


ZAEHNSDORF.      Prescott.     Con- 
quest OF  Mexico.      1864. 

Red  morocco,  with  frame  of  interlacing  fillets, 
and  moresque  scroll  ornamentation  flowing  through 
it,  in  style  of  Grolier.  Inside  borders  of  inter- 
lacing fillets  and  moresque  ornaments.  Red 
watered  silk  linings  and  ends. 


191  THIERRY.       Horace.       Poems. 

Plantin.     Antwerp.      1564. 

Dark  olive  green  morocco,  with  double  fillet 
border  enclosing  panel  design  with  corner  orna- 
ments all  in  blind  tooling. 

192  THOUVENIN.     Il  Pastor  Fido. 

Parigi.     m  dccc  xxii. 

Brown  morocco,  with  single  border  fillet  and 
angle  ornamentation. 


8o  Catalogue  of  Bookbindings 

193  SIMIER.  Nostradamus.  Les  Vrayes 
Centuries,  etc.    Amsterdam.     1668. 

Purple  morocco,  with  border  bands,  and  arms 
in  centre,  all  in  gold. 

194  ZAEHNSDORF.        E.      A.      Poe. 

Poems.     London,     mdcccxcii. 

Olive  morocco,  with  foliations,  and  with  flowers 
in  mosaics  of  various  colors. 

195     .     Champagny.      Rapport    du 

Jury.      Paris.      1806. 

Red  straight  grained  morocco,  with  border 
roulette  and  fillets,  and  with  centre  ornament  of 
arms  of  Napoleon  I.  on  both  sides. 

196  BOZERIAN  JEUNE.     Celsus  et 

Serenus.  Aldus,  Venice,   m.d.xxviii. 

Red  morocco,  with  border  of  fillets,  vine  inter- 
lacement, and  corner  ornaments.  Full  tooled  back 
panel. 


>  ■.-    .*^   •--    .;»    -■    ;*, 

'>  ¥  <'  ¥ 

'POEMS  BY 
|!SA^\^FL, 
l!TA>'l.OR 
IICOERIDGE 


^9    .••     ^^  ,1 


No.  197.— THE   DOVES   BINDERY 


No.  200.— COX 


Catalogue  of  Bookbindings  8 1 

197     DOVES     BINDERY.        Coleridge. 

Poems.     Keimscott   Press,   London. 

1896. 
Red  morocco,  with  fillets  and  heavy  dotted  and 
leaf  ornamentation  forming  centre  panel  for  title 
on  front  cover.      Back  cover  uniform,  but  without 
title. 

T98     THOUVENIN.  Moliere.    CEuvres. 
Paris,     m  dccc  xxv. 

Reddish  brown  morocco,  with  border  fillets  in 
gold  and  blind,  and  large  centre  ornament  stamped 
in  blind — the  relief  portions  slightly  dotted  in  gold. 


199 


SIMIER.         Annals 
Paris.      1822. 


DU        MUSEE. 


Green  morocco,  with  borders  in  blind  and  gold, 
arms  of  Adelaide  of  France  in  centres. 


200  COX.  William  Matthews.  Modern 
Bookbinding  Practically  Consid- 
ered.    New  York,     mdccclxxxix. 

Blue    morocco,    with    border    fillets   broken  at 
angles   and  with   mosaics   and   foliations  in  angles 


82  Catalogue  of  Bookbindings 

and  centre  on  front  cover ;  with  fillet  interlace- 
ment forming  compartments  on  back  cover; 
doubles  of  white  morocco  ovals  and  dark  morocco 
medallion  in  centre,  with  elaborate  toolings,  the 
designs  differing  slightly. 

201  COX.         Uzanne.         La      Reliure 

MoDERNE.     Paris.      1887. 

Dark  olive  morocco,  with  border  bands,  com- 
partments, centre  rose,  quatrefoils,  trefoils,  etc., 
in  mosaics  of  various  colors,  and  with  toolings, 
differing  on  two  sides.  Inside  border  bands  of 
mosaics  in  various  colors,  with  toolings,  differing 
on  two  sides,  and  with  brocade  linings  and  ends. 

202  COX.  Mm.  Marius  Michel.  La  Reli- 

ure FRAN9AISE.   Paris,  m.dccc.lxxxi. 

Red  morocco,  with  mosaic  and  corner  border 
bands  and  gold  toolings,  centre  compartment  of 
basket  pattern  in  blind,  on  front  cover;  mosaic 
border  bands  and  centre  panel  of  white,  with  inlays 
and  gold  toolings,  on  back;  doubles  of  white  with 
gold  toolings  and  broad  mosaic  band  and  toolings 
on  front  and  back,  designs  differing  slightly. 


No.  2115.— ZAEHNSDORF 


Catalogue  of  Bookbindings  8  3 

203  COX.     Bouchot.       The    Book,    etc. 

London.      1890. 

Dark  blue  morocco,  with  interlacing  fillet  bands 
forming  compartments  which  are  floriated  at  cor- 
ners. Doubles  of  two  volumes  all  differing  in 
design  and  color. 

204  COX.    Baldwin.     The  Book-Lover. 

Chicago.     1885. 

Red  morocco,  with  dentelle  borders.  Doubles 
of  blue  with  mosaics  of  red  interlacing  strapwork, 
and  scrollwork  with  mosaic  ornaments  in  outline 
of  moresque  design  in  various  colors. 


205  ZAEHNSDORF.  Matthew  Arnold. 
Empedocles  on  Etna.  London, 
mdcccxcvi. 

Brown   morocco,  with   interlacing    fillets,  sides 
and  back  panels. 


84  Catalogue  of  Bookbindings 


206  CHAMBOLLE-DURU.  Joutel's 
Journal  of  LaSalle's  Last  Voy- 
age.    Caxton  Club,  Chicago.     1896. 

Blue  morocco,  with  double  fillet  border  enclos- 
ing panel  design  composed  of  interlacing  fillets, 
foliations,  and  Renaissance  ornamentation,  all  in 
gold.  Double  of  red  morocco,  with  strapwork 
mosaic  and  fillet  interlacements,  and  with  Renais- 
sance ornamentation.  Silk  brocade  ends.  This 
is  the  first  copy  of  the  first  book  issued  by  the 
Caxton  Club  to  be  honored  with  a  worthy  dress. 


If 

! 


',!'  1       ,./4^U 


fir-  -■■  ^^^li^ 

■5'.  i^-^ft,,  ■.>#.■:/;..         , 


vr^^SSf?^,^^ 


mt;ym 


No.  206.- CHAM BOLLE-DURU 


PRINTED  FOR  THE  CAXTON  CLUB  BY 
R.  R.  DONNELLEY  AND  SONS  CO.  AT  THE 
LAKESIDE     PRESS,     CHICAGO,     MDCCCXCVIII 


University  of  California  Library 


Ji 


/ 


*  4PR1  9  1911 

KtC'D  Ui-UHi 


*^< 


5-9188 


UCLA-Art  Library 

Z  266.5  C31C 


L  006  226  408  0 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


A     001  199  246     8 


CATALOGU  E  of  an 
Exhibition  of  Nineteenth 
Century  BOOKBINDINGS 
By  the  Caxton  Cluh^  Chicago 
December,    MDCCCXCVII 


